At a time when epic historical dramas were becoming rarer in European cinema, Spanish broadcaster Antena 3 made its largest film investment to date, pouring €10 million (80% of the budget) into The Borgia , with Italian production company De Angelis contributing the remaining 20%. This significant financial commitment reflected the immense cultural weight of the Borgia story in Spain, particularly in the region of Valencia, where the family originated before ascending to the pinnacle of European power.
The Borgia (2006) occupies a significant but often overlooked position in the broader landscape of Borgia screen adaptations. It serves as a middle ground between earlier efforts and the twin television juggernauts that would appear five years later.
If you are a completist of historical dramas, track down the DVD. If you simply want Borgia intrigue, stick with the 2011 versions. But know this: The 2006 original is the quiet, forgotten sibling—flawed, slow, and utterly human. The Borgia -2006-2006
As Pope Alexander VI, Rodrigo orchestrates an ever-expanding web of marriages, military campaigns, and assassinations. The film depicts the Borgias as nothing less than an aristocratic mafia, using the resources of the Holy See to consolidate territory, eliminate rivals, and build a dynasty that could unify the fractured Italian peninsula under Borgia control. But their very success breeds enemies, as Cardinal Giuliano della Rovere (Eusebio Poncela) and other powerful rivals conspire to bring down this upstart Spanish family.
This cultural friction explains much of their behavior. They did not play by the established rules of the Italian oligarchs because they did not respect them. The film depicts their rise not just as a scandal, but as a hostile takeover by a foreign power, utilizing gold, marriage, and blood to secure their foothold. At a time when epic historical dramas were
The accuracy of the film compared to
The 2006 film is designed as a "swashbuckler" adventure drama that leans heavily into the legends of the Borgias poisoning their enemies. It portrays the Church during this period as having severe "PR problems". It serves as a middle ground between earlier
Visually, the film is a masterclass in Spanish production design. Shot across authentic historical locations in Italy and Spain, including Rome, Caprarola, and Valencia, the movie captures the contrast between the suffocating, candle-lit corridors of the Vatican and the sun-drenched battlefields of Romagna. The costume design and cinematography lean into rich, dark tones—deep crimsons, heavy brocades, and stark shadows—mirroring the moral ambiguity of the characters. Critical Reception and Legacy
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